It is possible to integrate any program including free and commercial audio editors into CbB and send data between the program and CbB as long as the program accepts a wave file as a command line argument.
I've had Sound Forge since before SoFo sold it to SONY and never knew about this feature [pencil/draw]. I used it as a waveform/file clean-up/editing/processing tool. Just checked Soundblast version 7 and Audiostudio version 14 [i.e., non-pro versions] and it works!!!
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I have Sound Forge and use the pencil drawing to remove clicks from other studios. (especially prior to R x 7) My Roland S-50 from 1987 actually has a digitizer tablet with pen that I used for drawing either the waveform or the envelopes. Once I created a feedback loop dialed into a sub frequency, sampled it, then drew a squigly attack onto the front of it and it became one of my favorite rap drum samples.. Also the 3.5 floppy disks would occaisionally glitch (due to getting close to a magnetic source perhaps) and I would redraw the glitch out just following what the curve should've looked like.
Regarding the weapon editor (and the wave editor too I guess), what if we were also able to export the weapons we make into a file that players can open in some sort of a sandbox environment where they can spawn enemies and adjust the power level to test the weapons out? That way they could try them out in-game and possibly give the creators better feedback on their ideas.
Create and edit Zone Envelopes: Just like you can use envelope generators as a source for parameter modulation on the Group level, Kontakt also provides envelopes that operate on separate Zones. The most striking aspect of Zone Envelopes, apart from the added flexibility, is that you can edit them right on top of the Sample waveform; this makes it possible to create precise automation curves in perfect sync to your audio material.
Jump to Zone Start: When you click this button, the waveform view will jump to the start marker of your Zone (which may or may not coincide with the actual beginning of the Sample data).
It serves as a precise position monitor for various editing operations that take place in the waveform view. You can adjust editable values either by clicking on them and moving your mouse up or down, or by double-clicking on them and entering a new value. The status bar consists of the following elements:
S. Mod (Sample Start Modulation Range): This value indicates the maximum amount by which the Zone start position can be modulated forth and back. For instance, if this range covers two seconds to both sides of the Start position, modulation assignments can change the Start position by two seconds at most. The modulation range is indicated graphically in the waveform view with a green line at the top, which extends horizontally to both sides of the Zone start marker to the earliest and latest start position attainable through modulation. You can change this value by clicking on it and dragging your mouse up or down.
The central element of the Wave Editor is the waveform view in the middle of the panel. It displays a navigable, visual representation of your Sample and allows you to perform a number of editing functions in a direct and intuitive graphical way.
When the Zone Envelope tab is selected, the currently selected Zone Envelope will be displayed as a curve on top of the waveform. If your Zone Envelope contains a loop region, it will be highlighted. A vertical line indicates where clipboard contents will be inserted when you use the Paste function.
In Auto mode, Kontakt detects transients in the waveform of your Sample and creates Slice markers at these positions. For instance, each bass drum and snare hit in a typical rock groove will be clearly visible as a level peak in its waveform; intermediate hi-hat hits will be visible as smaller peaks. By using the attack phases of these peaks as Slice positions, Kontakt can split these elements into Slices automatically. All you have to do is telling Kontakt the level above which a transient shall be considered for slicing; this level threshold is the most important parameter of the Auto mode.
Note that whenever you move an existing Slice or add a new one, it will be automatically locked. While Slice markers that were created via the Fix or Auto mode will change their positions or disappear when you adjust the tempo or switch the Grid mode, locked markers will always remain at their absolute position within the Sample until you change their position or remove them manually. Locked markers will appear as gray vertical lines in the waveform view.
Yellow: The respective loop region is active and currently selected for editing. The region will also be highlighted with a bright amber color in the waveform view. Only one loop region can be selected for editing at any time.
X-Fade: To mask imperfect loop points, Kontakt can fade the end of the loop region into its beginning. This value adjusts the length of this crossfade in milliseconds. Kontakt will indicate a loop crossfade in the waveform view with a diagonal line on the left side of a loop region.
The Loop Edit view is split vertically; the left side will show the waveform just before the loop end point, the right side will show the waveform just after the loop start point. In other words, the boundary in the center depicts the transition that will occur at the loop point. In addition, the original progression of the waveform after the end point is shown in a dim gray in the right part of the view, which allows you to assess how close the transition matches the unlooped waveform. You can move your loop start and end by clicking in the right or left part of the view, respectively, and dragging the mouse horizontally. Alternatively, you can adjust the numerical values within the edit panel in the usual way. While you change the positions, observe the transition in the center of the view; the more it looks like a continuous waveform, the cleaner your loop will turn out to be. To return to the normal waveform view, just click the Loop Edit button again.
If the Grid is active, all changes to the start and end points, whether they take place graphically within the waveform view or numerically within the edit panel, will snap to the nearest Slice marker; this makes creating exact loop regions within rhythmic material very easy. For a thorough description of the Grid feature, refer to the previous section of this chapter.
Provided that you have correctly set up the Grid for your Sample and selected the Sync / Slice tab, you can select Slices that you want to map to your keyboard simply by clicking between two Slice markers in the waveform view. Kontakt will highlight any selected Slice in blue. To add more Slices to your selection, either hold the [Ctrl] key ([Cmd] on Mac OS X) and click further Slices one at a time, or hold the [Shift] key and click a second Slice to select all Slices in between. For instance, if you want to map all Slices of your Sample to keys, click the first one, then hold [Shift] and click the last one; this will select all Slices and highlight the entire Sample.
In theory, you can create a Zone Envelope for every Group-level parameter, all within one Zone. However, Kontakt will only display one of your envelopes in the waveform view at any time. In order to select a Zone Envelope for viewing and editing, click the drop-down menu button on the left side of the Zone Envelopes tab, and choose an existing envelope from the menu.
Paste: Inserts the contents of the clipboard into your Sample. The insert location depends on whether a region is currently selected: if so, it will be replaced with the clipboard contents, which erases the previous contents of the region and will change the overall length of your Sample in most cases. If no region is selected, the contents of the clipboard will be inserted at the location of the edit cursor; this location is indicated with a vertical blue line, which you can position by clicking into the waveform view.
You can use the Normalize transformation to apply a constant amount of gain to target a maximum volume level. By doing this after the Trim Fade transformation, the normalization will apply only to the trimmed section of the waveform.
If you mean TwistedWave (and even if you don't) one can pinch-zoom allllll the way into a waveform, select and export regions (from the middle incl) / cut / silence / etc etc. You know what AudioShare can (and can't) do. A quick look at the feature list in app store or video will fill in any blanks. TW is a lovely thing.
I looked into what Steve said. I am just using (not the top of the line but still pretty decent) headphones for my mixes so I know it is not the best scenario but there is a difference. I did a +3dB for the master track and checked all of my faders to be zero. Still the quality when I view the track in the waveform editor is cleaner than the multitrack view.
Second, if by any chance you're importing an MP3, editing/mixing it, then saving it back to MP3 again, it WILL sound not as good. As you've already said, Audition converts to a 32 bit floating point wave file for editing/mixing. If you mixdown and save to wave then it should sound identical to what you heard while mixing. However, if you save to MP3, your audio goes through another MP3 codec and the errors/degradation of MP3 are cumulative. Each re-encoding loses a bit more information.
The interface is designed according to the most basic usability parameters for editing audio tracks so that even those without prior experience can still use it. You can add as many audio files as you want, and when you insert the clip you're going to edit, Nero Wave Editor will show you its sound waves. In this way, the entire sequence of sound is defined and easily viewable, and you can easily select certain sections to focus on. ff782bc1db